Boards

Could be a scene that has shocked you to your core, filled you with pure elation, even had some sort of connotation to a part of your life. To kick it off, obvious but good examples of what I'm thinking.

The ending sequence from Oldboy.

The moment Amelie reunites the man with his childhood trinkets.

When the newly appointed civil worker overlooks Ikiru's park he'd worked for.

I just think that everyone was expecting him as a director to have these epic twists in his stories, and by the time he made and released this the audience was just looking for something, and that was - in my opinion - a pretty obvious one. He's had me stumped before, but I thought the one in The Village was a tad predictable.

"Of all the gin joints in all the world, she walks into mine." - Casablanca.
"I love the smell of nepalm in the morning...smells like victory." - Apocalypse Now.
"Did we give up when the Germans bombed Pearl Harbor? No!" - Animal House.
"And poof, he was gone..." - The Usual Suspects
"I'll make him a deal he can't refuse." - The Godfather
"What are you doing, Dave?" - 2001: A Space Odyssey
"Do you know what they call a Quarter Pounder with cheese in France?" - Pulp Fiction
"I'm hysterical. Plus, now I'm wet!" - The Producers
"I ate him with fava beans." - Silence of the Lambs
Jack Nicholson in Five Easy Pieces...all of it.
"Nobody's perfect." - Some Like It Hot
"You lookin' at me?" - Taxi Driver
"They call me Mr. Tibbs." - In the Heat of the Night
Russian Roulette scene in Deer Hunter
Chase scene in The French Connection
Rocky running up the steps in Philadephia something'r other
Chief throwing fountain out of the mental institution in One Flew Over the Cuckoo's Nest
"Dying is easy; comedy is hard." - My Favorite Year
"I can't believe you like somebody better than me." - Manhattan

The end of The Road where the boy goes off with that other family, not sure whether to stay with his Dad and take on his world view of not trusting anyone or go with his instincts. There may be problems with that adaptation but I thought that part was done very well.

- Bambi's Mum- pretty much the reason I still would never eat deer.
- Mufasa dying- or more when Simba goes off and says "You said you'd always be there for me". Sad times :(
- When Sulley puts Boo back in her room and then leaves for the last time, and she runs and opens the wardrobe thinking he'll be there but its just her clothes
- When you think Dory is dead in Finding Nemo
- End scene of Toy Story 3 when Andy is leaving the toys behind and just says 'Thanks guys'.
-Pretty much the whole of 'The Fox and The Hound' (ruined my childhood)

le jour se leve, where the main character says something like, "yeah i killed a man, but we all kill each other everyday, it's just that i did it with a gun and the rest of you do it by degrees" or something like that. pretty deep. better in french, obvs.

Leon - when Natalie Portman plants the pot plant and the aftermath. Pan's Labyrinth - aftermath of Ofelia's final meeting with the faun
AI - the disappointment when he finally tracks down the Blue Fairy.
All incredibly moving scenes.
Pleasantville - such wonderful cinematography throughout esp when the tree bursts into flames and the world starts turning to colour http://www.youtube.com/watch?v=tJoCV903Qxc also when she puts makeup on afterwards is really sweet. http://www.youtube.com/watch?v=50IAOnaA3RoWhen the twists are revealed in Fight Club and Memento

Oh God no.
As a man of taste, I was so hoping you wouldn't fall for this.
Black Swan is an utter farrago; Fame Wide Shut.
Can't fault Aronofsky for his commitment, nor any of the cast for their performances, but it starts with hysteria and leaves itself with nowhere to go - all climax, no build-up = never good. By the end I was in utter hysterics!

But each to their own, I suspect this will end up being the next full-scale Marmite movie, like Moulin Rouge.

Er... anyway

How about the 'Club Silencio' scene in Mulholland Dr.? Or another Lynch classic, the film within in a film scene out on the street corner in INLAND EMPIRE? So horribly disturbing.

Seriously?
The actual performance didn't feel like a climax to you? I find that rather weird.
I love Black Swan for the same reason I love those great Lynch scenes you mentioned, but for a lot of other reasons as well.
I don't really understand your criticism of it; comparing it to Moulin Rouge is ridiculous, you must realize this.

Moulin Rouge is analogous to Black Swan not in terms of form/content, but rather the divisive effect it will have on audiences.

The unremitting recourse to cheap shocks, loud noises on the soundtrack, the ludicrously tight framing (at all times) and actors delivering lines like "YOU ARE STEEEF LIKE A DEAD CORPSE!" with a straight face all added up to my feeling that the film was hopelessly overblown. In the hands of a more subtle director with a surer touch and less of a need to impress, it had the potential to challenge the likes of Repulsion in the psychological horror stakes.

Unfortunately, for me, it ended up a poor relation of The Hand That Rocks The Cradle.

The intimacy of Aronofsky's camera was one of the things that astounded me the most about Black Swan, the way he captured the rituals and movements of the dancers seemed really reverent. The grossout visuals seemed to me to be a logical extension of neuroses that would develop when putting one's body through such wear and tear, and psychological pressure. I grant that it's a very stylized film, but it's stylized in a very sincere way that endears it to me rather than pushes it away.

The one sequence in colour (dancers at Fort Greene monument) in Spike Lee's She's Gotta Have It
Johnny's late-night apocalyptic chat with the security guard in Naked by Mike Leigh
And, it must be said, the arm-removal in 127 Hours. Fucking intense.

it's not a film trying to get across an idea... it's an idea trying to get across a film... the craft and entertainment value is paramount, any accusations of lack of depth are missing the point entirely. if you can't glory in the web and physics of an idea and a created world then you're missing one of the unique pleasures of cinema. this 'clever film for stupid people' stuff is a hugely embarrassing turn of phrase.

I'm not saying Inception is devoid of any artistic merit whatsoever. Some of the sequences are visually quite impressive. But not only is it staggeringly pretentious, I found it rather boring and hollow. It didn't help that I watched it a day after seeing Mulholland Dr. again (now if we're going to talk about 'creating worlds', there's a good example).

"if you can't glory in the web and physics of an idea and a created world then you're missing one of the unique pleasures of cinema" - now THIS is embarrassing. Suggesting I'm missing out on one of the great pleasures of cinema because I thought Inception was crap. As GOB Bluth would say, "COME ON!"

the shining - when jack is talking to his kid in the bedroom and he's just about tipped over into mental - the shot gives me the fucking willies... it's over his shoulder i think, the boy is in the foreground and there's an out of focus reflection of nicholson to the side of the frame. they have a conversation and you can't see nicholson's face.... argh, scared thinking about it.

The 'oh fuck' moment for me came at the end though when you find out she had cancer and thats the reason for her going on the trip and doing what she did. Then again maybe other people guessed that already and I was just a bit slow.

respectively after parting at the end of Before Sunrise. Likewise the moment where Celine loses it in the car in Before Sunset.

The last monologue at the end of Annie Hall.
The moment at the end of Summer With Monika where it's blatantly apparent that Monika is a total bitch.
The general air of wonderment at the end of Close Encounters of the Third Kind.
The moment in Wings of Desire where Cassiel can't prevent a rooftop suicide attempt.

the bit where he finds an excuse to get off the train to London knowing full well he won't make it back on. I relate to it so well because I'm a completely self-defeating bottler too, although I know a lot of people think it's rather too defeatist an outcome.

- The whole "house falling down" scene in Eternal Sunshine, culminating in "meet me in Montauk". Maybe an obvious metaphor, but very affecting all the same, specially with the Jon Brion score.
- Club Silencio in Mulholland Drive
- Not necessarily a scene or moment, but in Moon, as Sam Rockwell starts to realise/accept what's going on, particularly with the changing face of the computer
- Adaptation - when Kaufman starts to imagine that the picture of Meryl Streep is talking to him and the photo changes several times.
- Sunshine, the scene in which Kaneda dies, to John Murphy's score. Mostly for the music, which has been used tons of time's since (well used in Kick Ass too).

The "I could have been a contender" scene from On the Waterfront.
The bits in Friday Night Lights when the bus is driving through expanses of nothing with Explosions in the Sky playing.
The bit when the old man explains the palms together greeting in Things to Do in Denver When You're Dead